1.
Progressive rock
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Progressive rock is a broad subgenre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Prog is based on fusions of styles, approaches and genres, Prog saw a high level of popularity in the early-to-mid 1970s, but faded soon after. Conventional wisdom holds that the rise of rock caused this. Music critics, who labelled the concepts as pretentious and the sounds as pompous and overblown. Early groups who exhibited progressive features are described as proto-prog. In 1967, progressive rock constituted a diversity of loosely associated style codes, the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, in the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was also accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in music and the avant-garde since the mid 1970s. The term progressive rock is synonymous with art rock, classical rock, historically, art rock has been used to describe at least two related, but distinct, types of rock music. Similarities between the two terms are that they describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is likely to have experimental or avant-garde influences. Prog was devised in the 1990s as a term, but later became a transferable adjective. Although a unidirectional English progressive style emerged in the late 1960s, by 1967, critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. Author Kevin Holm-Hudson believes that rock is a style far more diverse than what is heard from its mainstream groups. They each do so largely unconsciously, academic John S. Cotner contests Macans view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Debate about the criteria and scope of the genre continues in the 2010s. In early references to the music, progressive was partly related to progressive politics, Cotner also says that progressive rock incorporates both formal and eclectic elements, It consists of a combination of factors – some of them intramusical, others extramusical or social. One way of conceptualising rock and roll in relation to music is that progressive music pushed the genre into greater complexity while retracing the roots of romantic

2.
Allan Holdsworth
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Allan Holdsworth is a British guitarist and composer. He has released studio albums as a solo artist and played a variety of musical styles spanning a period of more than four decades. He has also associated with playing an early form of guitar synthesizer called the SynthAxe. Frank Zappa once lauded him as one of the most interesting guys on guitar on the planet, while Robben Ford has said, I dont think anyone can do as much with the guitar as Allan Holdsworth can. Holdsworth first recorded in 1969 with the band Igginbottom on their lone release, in 1971 he joined Sunship, an improvisational band featuring keyboardist Alan Gowen, future King Crimson percussionist Jamie Muir and bassist Laurie Baker. They played live but would never release any recorded material and his playing can also be heard on a live BBC Radio concert from that year, which was released several decades later in 2005 as part of Under the Blossom, The Anthology, a Tempest compilation album. During the middle part of the decade, Holdsworth went on to work with various progressive rock. These included Soft Machine, The New Tony Williams Lifetime, Pierre Moerlens Gong and he has often since expressed his enjoyment of the experience gained with all of these groups, in particular his time spent with drummer Tony Williams. This angered Holdsworth, who says he still loathes the album intensely, as the 1970s wore on, Holdsworth was recruited by drummer and Yes founder Bill Bruford to play on his 1978 debut album, Feels Good to Me. Shortly afterwards, Bruford formed the rock supergroup U. K. with keyboardist/violinist Eddie Jobson and bassist John Wetton. Whilst U. K. continued with different musicians, Bruford returned to the core line-up of his band now simply named Bruford. Holdsworths first significant collaborator was jazz pianist Gordon Beck, with whom he first played on Becks Sunbird album in 1979 and their first collaborative release, The Things You See, followed in 1980, and was a largely similar effort but without percussion or bass. Soon afterwards, Holdsworth joined up with drummer Gary Husband and bassist Paul Carmichael in a trio became known as False Alarm. This was to be Holdsworths first outing as a bandleader and, after the acquisition of former Tempest singer Paul Williams and their self-titled debut album was released independently in 1982, followed by a mainstream reissue through Enigma Records in 1985. Immediately after I. O. U. s release, guitarist Eddie Van Halen brought Holdsworth to the attention of Warner Bros. Records executive Mo Ostin, Van Halen had previously enthused about Holdsworth in a 1980 issue of Guitar Player magazine, saying That guy is bad. Hes fantastic, I love him, and that Holdsworth was the best, furthermore, in a 1981 interview for Guitar World magazine, he said that To me Allan Holdsworth is number one. This resulted in the Warner Bros. release of Road Games in 1983 and it was produced by longtime Van Halen executive producer Ted Templeman, and received a nomination for Best Rock Instrumental Performance at the 1984 Grammy Awards. Holdsworth, however, has always disliked the EP because of issues which arose with Templeman

3.
Ronnie Scott
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Ronnie Scott OBE was an English jazz tenor saxophonist and jazz club owner. Ronnie Scott was born in Aldgate, East London, into a Jewish family and his father Joseph Schatt was of Russian extraction and his mother Sylvias family attended the Portuguese synagogue in Alie Street. Ronnie Scott attended the Central Foundation Boys School, Scott began playing in small jazz clubs at the age of 16, his claim to fame then being that he was taught to play by Vera Lynns father-in-law. Scott toured with trumpeter Johnny Claes from 1944 to 1945, and he also worked with Ambrose, Cab Kaye and Tito Burns. Scott was involved in the short-lived musicians co-operative Club Eleven band and club, with Johnny Dankworth and others. He was a member of the generation of British musicians who worked on the Cunard liner Queen Mary in order to visit New York City, Scott was among the earliest British musicians to be influenced in his playing style by Charlie Parker and other bebop musicians. Scott co-led The Jazz Couriers with Tubby Hayes from 1957 to 1959, during this period Scott also did occasional session work, his best-known work here is the solo on The Beatles Lady Madonna. Scott also played on film scores, including the score for Fear Is the Key, Scott continued to be in demand for guest appearances in later years, such as providing the tenor sax solo on Phil Collinss 1981 hit single I Missed Again. From 1967–69, Scott was a member of The Kenny Clarke-Francy Boland Big Band, at the same time Scott ran his own octet which included John Surman and Kenny Wheeler, and a trio with Mike Carr on keyboards and Bobby Gien on drums. Scott went on to various groups, most of which included John Critchinson on keyboards. Scotts playing was much admired on both sides of the Atlantic, charles Mingus said of him in 1961, Of the white boys, Ronnie Scott gets closer to the negro blues feeling, the way Zoot Sims does. Despite his central position in the British jazz scene, Scott recorded infrequently during the last few decades of his career. Scott suffered periods of depression and, while recovering slowly from surgery for tooth implants, Scott was cremated at Golders Green Crematorium. The author Joel Lane was Scotts nephew, Ronnie Scotts widow, Mary Scott, has a business representing musicians and lives in Brooklyn, New York. She and her daughter, Rebecca Scott, have written a memoir, A Fine Kind of Madness, Ronnie Scott Remembered, the book was published in 1999 in London by Headline Book Publishing. The original venue continued in operation as the Old Place until the lease ran out in 1967, Scott regularly acted as the clubs genial Master of Ceremonies, and was famous for his repertoire of jokes, asides and one-liners. A typical introduction might go, Our next guest is one of the finest musicians in the country, Ronnie often used in later days the services of John Schatt to book Rock Bands for Ronnie Scotts upstairs. After Scotts death, King continued to run the club for a nine years

4.
MusicBrainz
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MusicBrainz is a project that aims to create an open data music database that is similar to the freedb project. MusicBrainz was founded in response to the placed on the Compact Disc Database. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become an open online database for music. MusicBrainz captures information about artists, their works, and the relationships between them. Recorded works entries capture at a minimum the album title, track titles, and these entries are maintained by volunteer editors who follow community written style guidelines. Recorded works can also store information about the date and country. As of 26 July 2016, MusicBrainz contained information about roughly 1.1 million artists,1.6 million releases, end-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as MP3, Ogg Vorbis or AAC. As with other contributions, the MusicBrainz community is in charge for maintaining and reviewing the data, besides collecting metadata about music, MusicBrainz also allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this, in 2000, MusicBrainz started using Relatables patented TRM for acoustic fingerprint matching. This feature attracted many users and allowed the database to grow quickly, however, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions. This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, tRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND, some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free service was uncertain, a replacement for it was sought. The Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský, while AcoustID and Chromaprint are not officially MusicBrainz projects, they are closely tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second, additional post-processing is then applied to compress this fingerprint while retaining patterns. The AcoustID search server then searches from the database of fingerprints by similarity, since 2003, MusicBrainzs core data are in the public domain, and additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL, the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, in December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye